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Figured bass
From Wikipedia, the free encyclopedia

Figured bass, or thoroughbass, is a

kind of musical notation in which
numerals and symbols (often
accidentals) indicate intervals, chords,
and non-chord tones that a musician
playing harpsichord, organ, lute (or
other instruments capable of playing
chords) play in relation to the bass note
that these numbers and symbols appear
above or below. Figured bass is closely
associated with basso continuo, a
historically improvised
accompaniment used in almost all
genres of music in the Baroque period
of Classical music (c.1600–1750),
Melody from the opening of Henry Purcell's "Thy Hand,
though rarely in modern music.
Belinda", Dido and Aeneas (1689) with figured bass below
Other systems for denoting or ( Play , Play with figured bass realization).

representing chords include[1] plain

staff notation, used in classical music; Roman numerals, commonly used in harmonic analysis;[2]
macro symbols, sometimes used in modern musicology; the Nashville number system; and various
chord names and symbols used in jazz and popular music (e.g., C Major or simply C; D minor or
Dm; G7, etc.).

Contents
1 Basso continuo
2 Figured bass notation
2.1 Numbers
2.2 Accidentals
3 History
4 Contemporary uses
5 See also
6 Notes
7 Further reading
8 External links

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Basso continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic
structure of the music. The phrase is often shortened to continuo, and the instrumentalists playing
the continuo part are called the continuo group. The titles of many Baroque works make mention of
the continuo section, such as J. S. Bach's Concerto for Two Violins, Strings and Continuo in D
Minor.

The makeup of the continuo group is often left to the discretion of the performers, and practice
varied enormously within the Baroque period. At least one instrument capable of playing chords
must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any
number of instruments which play in the bass register may be included, such as cello, double bass,
bass viol, or bassoon. The most common combination, at least in modern performances, is
harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ for
sacred music. Typically performers match the instrument families used in the full ensemble:
including bassoon when the work includes oboes or other winds, but restricting it to cello and/or
double bass if only strings are involved. Harps, lutes, and other handheld instruments are more
typical of early 17th-century music. Sometimes instruments are specified by the composer: in
L'Orfeo (1607) Monteverdi calls for an exceptionally varied instrumentation, with multiple
harpsichords and lutes with a bass violin in the pastoral scenes followed by lamenting to the
accompaniment of organo di legno and chitarrone, while Charon stands watch to the sound of a
regal.

The keyboard (or other chord-playing instrument) player realizes a continuo part by playing, in
addition to the notated bass line, notes above it to complete chords, either determined ahead of time
or improvised in performance. The figured bass notation, described below, is a guide, but
performers are also expected to use their musical judgment and the other instruments or voices
(notably the lead melody and any accidentals that might be present in it) as a guide. Experienced
players sometimes incorporate motives found in the other instrumental parts into their improvised
chordal accompaniment. Modern editions of such music usually supply a realized keyboard part,
fully written out in staff notation for a player, in place of improvisation. With the rise in historically
informed performance, however, the number of performers who are able to improvise their parts
from the figures, as Baroque players would have done, has increased.

Basso continuo, though an essential structural and identifying element of the Baroque period,
continued to be used in many works, especially sacred choral works, of the classical period (up to
around 1800).[3] An example is C. P. E. Bach's Concerto in D minor for flute, strings and basso
continuo. Examples of its use in the 19th century are rarer, but they do exist: masses by Anton
Bruckner, Beethoven, and Franz Schubert, for example, have a basso continuo part that was for an
organist.

Figured bass notation

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A part notated with figured bass consists of a bass line notated with notes on a musical staff plus
added numbers and accidentals (or in some cases slashes added to a number) beneath the staff to
indicate what intervals above the bass notes should be played, and therefore which inversions of
which chords are to be played. The phrase tasto solo indicates that only the bass line (without any
upper chords) is to be played for a short period, usually until the next figure is encountered. This
instructs the chord-playing instrumentalist to not play any improvised chords for a period.

The reason the phrase "tasto solo" had to be used was because it was an accepted convention that if
no figures were present in a section of otherwise figured bass line, the chord-playing performer
would either assume that it was a root position triad, or deduce from the harmonic motion that
another figure was implied. For example, if a continuo part in the key of C begins with a C bass
note in the first measure, which descends to a B♮ in the second measure, even if there was no
figures, the chord-playing instrumentalist would deduce that this was most likely a first inversion
dominant chord (spelled B–D–G, from bottom note of the chord to the top).

Composers were inconsistent in the usages described below. Especially in the 17th century, the
numbers were omitted whenever the composer thought the chord was obvious. Early composers
such as Claudio Monteverdi often specified the octave by the use of compound intervals such as 10,
11, and 15.

Contemporary figured bass may be summarized as follows:

For diatonic triads:

5
root position = blank or 3
6
1st Inversion = 6 or 3
6
2nd Inversion = 4

For 7th chords:

root position = 7
6
1st Inversion = 5
4
2nd Inversion = 3
4
3rd Inversion = 2 or 2

Numbers

The numbers indicate the number of scale steps above the given bass-line that a note should be
played. For example:

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Here, the bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above it
should be played, that is an F and an A. In other words, the second inversion of an F major chord is
to be played.

In cases where the numbers 3 or 5 would normally be understood, these are usually left out. For
example:

is equivalent to

and both imply the following chords

although the performer may choose which octave to play the notes in and will often elaborate them
in some way, such as by playing them as arpeggios rather than as block chords, or by adding
improvised ornaments, depending on the tempo and texture of the music.
6
4 4
Sometimes, other numbers are omitted: a 2 on its own or indicates for example. From the
2 2,
figured bass-writer's perspective, this bass note is obviously a third inversion chord, so the sixth
interval is viewed as an interval that the player should automatically infer.

Sometimes the figured bass number changes but the bass note itself does not. In these cases the new
figures are written wherever in the bar they are meant to occur.

When the bass note changes but the notes in the chord above it are to be held, a line is drawn next
to the figure or figures to indicate this:

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The line extends for as long as the chord is to be held.

Accidentals

When an accidental is shown on its own without a number, it applies to the note a third above the
lowest note; most commonly, this is the third of the chord. Otherwise, if a number is shown, the
accidental affects the said interval. For example, this, showing the widespread default meaning of
an accidental without number as applying to the third above the bass:

is equivalent to this:

Sometimes the accidental is placed after the number rather than before it.

Alternatively, a cross placed next to a number indicates that the pitch of that note should be raised
by a semitone (so that if it is normally a flat it becomes a natural, and if it is normally a natural it
becomes a sharp). A different way to indicate this is to draw a bar through the number itself. The
following three notations, therefore, all indicate the same thing (that A♮ should be played even
though A♭ would normally be played in this key signature):

When sharps or flats are used with key signatures, they may have a slightly different meaning,
especially in 17th-century music. A sharp might be used to cancel a flat in the key signature, or vice
versa, instead of a natural sign.

An example of figured bass in context. Taken from Beschränkt, ihr Weisen,

by J. S. Bach (R. 47/69). Play

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History
Improvised organ accompaniments for choral works were common by the late 16th century, and
separate organ parts showing only a bass line date back to at least 1587. In the mid-16th century,
some Italian church composers began to write polychoral works. These pieces, for two or more
choirs, were created in recognition of particularly festive occasions, or else to take advantage of
certain architectural properties of the buildings in which they were performed which created natural
reverberation. With eight or more polyphonic voice parts to keep track of in performance, works in
polychoral style required some sort of instrumental accompaniment. They were also known as cori
spezzati, since the choirs were structured in musically independent or interlocking parts, and may
sometimes also have been placed in physically different locations.

The concept of allowing two or more concurrently performing choirs to be independent structurally
would probably not have arisen had there not been an already existing practice of choral
accompaniment in church. Financial and administrative records indicate the presence of organs in
churches dates back to the 15th century, although their precise use is not known. Many first-person
accounts of church services from the 15th and 16th centuries imply organ accompaniment in some
portions of the liturgy, as well as indicating that the unaccompanied practice of the Cappella Sistina
was somewhat unusual. By early in the 16th century, it seems that accompaniment by organ at least
in smaller churches was commonplace, and commentators of the time lamented on occasion the
declining quality of church choirs. Even more tellingly, many manuscripts, especially from the
middle of the century and later, feature written-out organ accompaniments. It is this last observation
which leads directly to the foundations of continuo practice, in a somewhat similar one called basso
seguente or "following bass".

Written-out accompaniments are found most often in early polychoral works (those composed,
obviously, before the onset of concerted style and its explicit instrumental lines), and generally
consist of a complete reduction (to what would later be called the "grand staff") of one choir’s
parts. In addition to this, however, for those parts of the music during which that choir rested was
presented a single line consisting of the lowest note being sung at any given time, which could be
in any vocal part. Even in early concerted works by the Gabrielis (Andrea and Giovanni),
Monteverdi and others, the lowest part, that which modern performers colloquially call "continuo",
is actually a "basso seguente", though slightly different, since with separate instrumental parts, the
lowest note of the moment in the instrumental parts is often lower than any being sung.

The first known published instance of a basso seguente was a book of Introits and Alleluias by the
Venetian Placido Falconio from 1575. What is known as "figured" continuo, which also features a
bass line that because of its structural nature may differ from the lowest note in the upper parts,
developed over the next quarter-century. The composer Lodovico Viadana is often credited with the
first publication of such a continuo, in a 1602 collection of motets that according to his own
account had been originally written in 1594. Viadana’s continuo, however, did not include figures.
The earliest extant part with sharp and flat signs above the staff is a motet by Giovanni Croce, also
from 1594.

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Following and figured basses developed concurrently in secular music; such madrigal (a song style)
composers as Emilio de' Cavalieri and Luzzasco Luzzaschi began in the late 16th century to write
works explicitly for a soloist with accompaniment, following an already standing practice of
performing multi-voice madrigals this way, and also responding to the rising influence at certain
aristocratic courts of featuring popular individual singers. This tendency toward solo-with-
accompaniment texture in secular vocal music (non-religious music) culminated in the genre of
monody, just as in sacred vocal music it resulted in the sacred concerto for various forces including
few voices and even solo voices. The use of numerals to indicate accompanying sonorities in
accompaniment parts began with the earliest operas, composed by Cavalieri and Giulio Caccini.

These new genres, just as the polychoral one probably was, were indeed made possible by the
existence of a semi- or fully independent bass line. In turn, the separate bass line, with figures
added above to indicate other chordal notes, shortly became "functional," as the sonorities became
"harmonies," (see harmony and tonality), and music came to be seen in terms of a melody
supported by chord progressions (homophony), rather than interlocking, equally important lines
that are used in polyphony. The figured bass, therefore, was integral to the development of the
Baroque, by extension the ”classical” style, which built on the innovations of the Baroque era, and
by further extension most subsequent musical styles.

As part of the new galant style in the mid-18th century, with its emphasis on lighter and more
varied textures, and singable melodies, orchestral music gradually phased out the basso continuo,
and solo-with-accompaniment textures increasingly featured fully written-out accompaniments. By
the second half of the 18th century, figured bass was almost entirely eliminated, except in sacred
choral music, where it lingered until well after 1800: Beethoven's Mass in C major (1807), for
example, has a figured bass part.

Many composers and theorists of the 16th, 17th, and 18th centuries wrote "how-to guides" for
chord-playing musicians, to aid them in realizing figured bass notation, including Gregor
Aichinger, Filippo Bonaffino, Friedrich Erhard Niedt, Jean-Philippe Rameau, Georg Philipp
Telemann, C. P. E. Bach, and Michael Praetorius.

Contemporary uses
In the 20th and 21st century, figured bass is also sometimes used by classical musicians as a
shorthand way of indicating chords when a composer is sketching out ideas for a new piece or
when a music student is analyzing the harmony of a notated piece of music (e.g., a Bach chorale or
a Chopin piano prelude). Figured bass is not generally used in modern musical compositions,
except for neo-Baroque pieces. A form of figured bass is used in notation of accordion music;
another simplified form is used to notate guitar chords. In the 2000s, outside of professional
Baroque ensembles that specialize in the performance practice of the Baroque era, the most
common use of figured bass notation is to indicate the inversion in a harmonic analysis or
composer's sketch context, however, often without the staff notation, using letter note names
followed with the figure. For instance, if a piano piece had a C major triad in the right hand
(C–E–G), with the bass note a G with the left hand, this would be a second inversion C major

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6
chord, which would be written C4. If this same C major triad had an E in the bass, it would be a
first inversion chord, which would be written C6 (this is different from the jazz notation, where a
C6 means the major sixth chord C–E–G–A, i.e., a C major with an added 6th degree). The symbols
can also be used with Roman numerals in analyzing functional harmony, a usage called figured
Roman; see chord symbol.

See also
Unfigured bass

Notes
1. Benward, Bruce; Marilyn Nadine, Saker (2003), Music: In Theory and Practice, Vol. I (7th ed.), :
Mcgraw-Hill, p. 77, ISBN 978-0-07-294262-0.
2. Schoenberg, Arnold (1983), Structural Functions of Harmony (7th ed.), London: Mcgraw-Hill, pp. 1–2.
3. http://thegreathistoryofarts.weebly.com/classical-era.html

Further reading
Schick, Kyle (2012) "Improvisation: Performer as Co-composer," Musical Offerings: Vol. 3:
No. 1, Article 3. Available at: http://digitalcommons.cedarville.edu/musicalofferings
/vol3/iss1/3

External links
Figured Bass Symbology (http://www.robertkelleyphd.com/figuredbass.htm) by Robert
Kelley
Chords that the (major) scale degrees (in the bass) can imply
(http://www.robertkelleyphd.com/scaledegrharm.htm) by Robert Kelley
Theory and Practice of the Basso Continuo (http://theoryofmusic.wordpress.com/2007/11
/23/theory-and-practice-of-the-basso-continuo/) by Barry Mitchell
Historical sources on the subject of basso continuo - Viadana, Agazzari etc
(http://www.bassus-generalis.org/)

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